From the Editors
ARTM Print Editors
This issue of ARTMargins offers a broad variety of perspectives on key problems of current cultural analysis, including colonialism, the problem of class from...
A Monument in Conflict: Transnational Resistance and the Politics of Commemoration in La Vaughn Belle and Jeannette Ehlers’s I am Queen Mary
Kristine Nielsen
Abstract
In 2018, artists La Vaughn Belle and Jeannette Ehlers unveiled I Am Queen Mary on the Copenhagen waterfront, an imposing 23-foot-tall monument...“And What About Class?”
Angela Harutyunyan, Sven Spieker, Gal Kirn, Jaleh Mansoor, Magdalena Radomska, Gregory Sholette, Kuba Szreder
This roundtable focuses on the connections between art or culture and class, and on the multiple forms this connection takes today. Even as class distinctions...
Informalism and The Aesthetics of Underdevelopment: Colombian Abstract Painting in the Cold War
Ana M. Franco
Informalism emerged in Colombia in the early 1960s as an alternative artistic language and a means of resisting the prevailing artistic status quo. Through the...
The Project and The (ART) Object: Conversations with Ješa Denegri and Benjamin Buchloh
Branislav Jakovljević
This article explores the books of interviews, published in 2024, with the prominent German-American art critic Benjamin Buchloh and his Yugoslavian peer Jerko “Ješa” Denegri....
This is the Way: The Landmarks: Rethinking and Hacking Urban Planning through Walking: A Script from a Case Study of Tokyo
Piotr Bujak
A subversive and poetic take on walking art practice as a tool of expressing dissent/critical stands in a non-offensive manner. This Is The Way is...
The Museum Forum: An Introduction to Walter Zanini’s “New Direction for the Museum of Contemporary Art”
Paulina Pardo Gaviria
This article examines the curatorial practice that Walter Zanini (Brazil, 1925–2013) applied at the Museu de Arte Contemporânea at Universidade de São Paulo (MAC USP),...
New Direction for the Museum of Contemporary Art
Walter Zanini, Paulina Pardo Gaviria
Until recently, the museum of modern art was characterized as a critical organ/an organizer of a retrospective nature. As an institution that appropriates and coordinates,...
